In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.

I'm a terrible Scrabble player.

The way I work, I'm not a confessional singer-songwriter.

The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.

There's always a tension between wanting to write a really concise, instant gratification type song that gets under your skin the first time you hear it, and wanting to really stretch out. I think it's a healthy tension.

If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.

Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.